In the new documentary “The Last Impresario,” out Friday, we see a clip of a British newscaster from the ’60s discussing a show from a then-unknown artist named Yoko Ono.

The funniest part of the black-and-white clip is toward the end, when the straight-laced, suit-and-tie-clad announcer says, “Yoko’s film, ‘No. 4,’ will be shown in the men’s toilet of the theater.”

Michael took [events] that were small and fringe and on the edge, and introduced them to a much wider world.

- Vogue Editor Anna Wintour

While a lively introduction to Ono’s work, the clip also speaks volumes about the show’s producer, and the subject of “The Last Impresario,” Michael White, a British film and theater producer with an eye for eye-popping, boundary-breaking entertainment — as well as a knack for befriending superstars.

In addition to his work with Ono, he also was an early champion of John Cleese, Kate Moss and “The Rocky Horror Picture Show”; he produced the naked, erotic revue “Oh! Calcutta!”; and he has a collection of more than 30,000 personal photographs of parties with every A-lister imaginable, including Leonardo DiCaprio, Nicole Kidman, Jack Nicholson, Prince Charles, Johnny Depp, Mick Jagger — the list is impressive and seemingly endless.

“I met the most extraordinary people with Michael,” friend Naomi Watts says in the film. “One moment he’s hanging out at a grungy bar, then he’s dining with [Margaret] Thatcher.”

Glasgow native White — now 78, retired and living in London — began attending the Cannes Film Festival in 1968, and quickly became dialed-in to the festival’s glamorous party life.

Gracie Otto, the film’s director, met White there in 2010.

“He called me the next day and said, ‘We’re going to Hotel du Cap with Mick Jagger, and the next night we’re going on Paul Allen’s yacht and then the Chanel party.’ And I was like, who are you? He just wanted to introduce me to his world.”

The key to White’s popularity is his desire to share experiences, say many in the film, including his good friend Kate Moss, who met White when she was around 19 or 20. It was White who would first speak of Moss to Vogue editor Anna Wintour.

Among White’s personal snapshots: one of Johnny Depp and Kate Moss.FilmBuff

“I was in New York, I think,” Moss recalls in the film. “I’d just met Christie [Brinkley] and Naomi [Campbell], it was really exciting for me, and one night I ended up just hanging out and talking [with him], and going on and on, like, let’s go to another club, let’s do this. And he was the only one who could really keep up with me . . . He just would not care about staying out all night, and still getting into the office the next day. It’s amazing. They don’t make them like that anymore.”

White and pal Jack Nicholson, living it up in 1993.FilmBuff

With his combination of avant-garde thinking and quiet charisma, White was destined to make a mark on the arts. He wound up making several.

In 1963, he was so entranced with a comedy troupe out of Cambridge that he brought them to the West End. One member of the troupe was Cleese, who would go on to fame as a member of Monty Python. White later produced their classic film, “Monty Python and the Holy Grail.”

The late ’60s saw White bring “happenings” to London, formless hippie performances that could consist of anything from music and dance to actors pouring chocolate sauce on themselves, or, according to Otto, women “putting fish up their vaginas” in front of an audience.

“The thing that’s always impressed me about Michael,” said actor/director Andre Gregory, who worked with White on “My Dinner With Andre,” “is that his work, in very different ways, all says, ‘Wake up. Don’t be apathetic. Get out of your seats and think.’ ”

A glam Jerry Hall receives a smooch from White.FilmBuff

In the early ’70s, a theater director named Jim Sharman brought White a campy science-fiction musical called “They Came From Denton High.” White agreed to produce it, and the show’s first performances were staged at a 60-seat experimental theater in London. Just before previews, the name was changed to “The Rocky Horror Show.”

An immediate sensation, White kept the show’s mystique alive by riding its “cult hit” vibe, and instead of moving it to a larger and more prestigious theater, selected a run-down old cinema instead.

“I put it on at the Royal Court Theatre, a tiny upstairs theater, and it was a mammoth hit,” White tells The Post. “When it moved to another theater, I again kept it small. I thought the audience would prefer it, in an intimate sense. Mick Jagger came, and was turned away because there weren’t enough tickets.”

“England was emerging from postwar austerity . . . and into some new version of itself,” says Sharman. “Michael was one of the few producers who would take a gamble on works that challenged the status quo. I think many of those works contributed in some way to the transformation of English society.”

White continued producing throughout the ’80s and ’90s, focusing more on film, with credits including “My Dinner With Andre,” John Waters’ “Polyester,” and the Kate Winslet spy film “Enigma.” He started turning away from producing when mid-level films became harder to finance, but has continued his visits to Cannes, holding court and partying with the A-list.

In the film, Wintour shares her belief that part of why White has moved away from the business is that the money — which, we learn, he was never very good with, and has not very much of now — always took a back seat.

“Michael took [events] that were small and fringe and on the edge, and introduced them to a much wider world,” she said. “Michael was an impresario in that way, a renaissance man in the way he has tentacles in all these different worlds. But much more importantly, he wanted to share what he found with other people.”